虛實交錯的日本2.5次元市場研究：以舞台劇為例

Abstract

日本內容產業生產者所塑造的跨媒體環境、消費者期待文本重現的體驗需求，導致介於現實生活世界(3次元)與文本虛擬世界(2次元)之間的「2.5次元」建構成形，並於2010年代後逐漸廣為人知。角色扮演、聖地巡禮、VOCALOID等重視場域氛圍、消費者想像力以及體驗的樣態皆屬此類範疇，且成為佔有日本內容產業一定比例產值之重要商品。\n 現今日本2.5次元市場的主力重心之一的「2.5次元舞台劇」，早期利用IP及角色等跨媒體策略吸引劇作的消費者；累積並形塑一定客群與體系規則後，則呈現出與過往一般商業舞台劇所不同的多樣化活動，更以此成為市場區隔的一大利器、發展出另一以自身為中心的跨媒體形式。\n 由研究背景顯示，2.5次元的興盛為近年研究日本內容產業時所不得忽視的項目，故本文藉2.5次元舞台劇作為案例，並以質性資料的文獻分析以及深度訪談作為主要研究方法。藉由整理及歸納專家學者所著學術文獻、相關業界人士發言、市場規模數據資料、大眾傳媒報導論述、消費者意見等內容，旨在探究日本2.5次元的發展過程中，生產者販售2.5次元商品所運用之策略以及影響消費者從事消費行動的主要因素；並分析目前受到市場好評之日本2.5次元舞台劇特色與共通核心要素。\n 本研究討論包含日本內容產業跨媒體策略及角色的運用、內容產業文本之性質與敘事模式、消費者詮釋文本之方式、迷文化下的行為表現等，進而歸納出日本2.5次元的發展及特色立基於生產者與消費者所相互建構的「解釋共同體」之上。

“2.5-dimensional” formed by Japanese content producers and consumers (fans) is used to describe presentations based on Japanese manga, animation and video games. 2.5-dimensional marketing has developed in many fascinating ways which emphasize on the atmosphere, consumer imagination and experience. Costume play (cosplay), seiyū, musicals, anime pilgrimage, VOCALOID belong to the category of 2.5-dimensional marketing and occupy a large proportion of Japanese content industry since 2010’s.\n This study is based on Japanese 2.5-dimensional musicals which is one of the most effective genre of current 2.5-dimensional marketing and focuses on media mix and character marketing, distinctive narrative model of Japanese contents, the ways consumers interpret Japanese contents and fan behaviors. The main research methods are qualitative data analysis and in-depth interviews. Through collating and summarizing academic literature, speeches by industry insiders, market sizes, mass media reports and personal experience of respondents, this study aims to investigate the strategies used by producers to sell 2.5-dimensional merchandise and the main factors that influence the consumers actions and choices. This study also analyzes the critical success factors of Japanese 2.5-dimensional musicals and reveals the indispensable element of Japanese 2.5-dimensional musicals, which formed by “interpretive communities” between producers (provider) and audience (receiver).